The NYT sent A.O. Scott to interview David Thomson about his new book on the moral quandaries of cinema. I wish they had given the article more space. The premise of the book seems to be ‘how good could the century of cinema have been considering how bad the world is now?’
Michael Mann says the color grading on MANHUNTER: THE FINAL CUT is "radical" and meant to modernize the film and "render a visual aesthetic that is contemporary" and more about "dramatic impact" than how it should look. In other words, he's made it look like PUBLIC ENEMIES. Sigh.
Elisabeth Shue on her favourite scene in "Adventures in Babysitting" (1987) & why it played an important part in her being cast in "Leaving Las Vegas" (1995):
"What’s interesting for me, too, is looking back at the few great roles that I feel like I’ve had, and I think there are a few, and I really do believe in my heart 'Adventures in Babysitting' is one of them because she gets to carry the movie.
There weren’t too many lead roles for women at the time, for sure. So I think the fact that the film had to have a girl, because most babysitters were girls at the time, that’s kind of nice.
Blues Club scene was probably one of my favorite experiences in film, like at the top, top, top of every experience I had. I had so, so, so much fun. I think you can probably see it in in my performance. I probably had way too much fun.
I do know that without ‘Adventures in Babysitting,’ I wouldn’t have gotten ‘Leaving Las Vegas’ (1995) because (director) Mike Figgis said that that was one of his favorite movies, oddly enough So, I’m grateful for that."
(Elisabeth Shue's interview with Drew Weisholtz, Today, 2022)
P.S: On this day, 39 years ago, "Adventures in Babysitting" (1987) premiered in New York City, USA.
My favorite Drew Struzan poster is the ADVENTURES IN BABYSITTING one sheet. It has a lighter touch than some of his more famous work and the colors really pop, lots of neon. I think he was probably inspired by the Nintendo craze (or vice versa), it looks like an NES game cover.
Looking at posters: the most common one sheet for 1983's BAD BOYS is a bland image of Sean Penn behind a chain link fence, but they made another, much better one that paints the three leads in graffiti art style. The artists couldn't quite capture Ally Sheedy, but that's okay.
Last night I watched a new horror movie with a big "produced by Gene Simmons" opening credit and this morning I'm seeing publicity for an upcoming horror movie produced by Cher. I'm not sure what's going on, but I can't wait for the Linda Ronstadt-produced slasher.
Watching an old Siskel & Ebert, they are reviewing TWO IF BY SEA. Siskel complains that Sandra Bullock has done three movies in ten months and needs to "slow down the pace" because she's losing her freshness. No one talks about overexposure these days, it's no longer a thing.
I don't think you can fault Sarah Pidgeon for not knowing who Jimmy Stewart is. We're talking about an actor whose heyday was 75-85 years ago at this point. Most actors don't even watch their own movies, let alone classic cinema. Life moves on. Get used to it.
A 35mm print of L.A CONFIDENTIAL is screening in L.A. tonight with an in-person introduction by James Ellroy, which is hilarious because he openly hates the movie and will 100 percent tell the audience they are about to watch a piece of crap. What is he thinking?
@crsryan That was the least of the problems at the screening. LA Confidential is a great film, but the image and sound quality at the Los Angeles Theater was pretty bad. Color was off, out of focus, hard to hear some of the dialogue.
Fun Stalin fact: he was a serious cinephile, watching films almost every night, either at the Kremlin or his dacha, and often into the early hours. Among the films he’s known or believed to have watched are Clark Gable rom-com It Happened One Night and various John Wayne Westerns.
I read an interview with Sharon Stone like a week ago where she said that she always thought comedy was her strong suit. At first I scoffed and then I remembered that she's fantastic and very funny in Albert Brooks's THE MUSE. She's also funny in CASINO in a dark, twisted way.
[TAXI DRIVER] This movie, too, has an erotic aura. There is practically no sex in it, but no sex can be as disturbing as sex. And that’s what it’s about: the absence of sex—bottled-up, impacted energy and emotion, with a blood-splattering release. (1976)
Watching CRIMINAL LAW. Martin Campbell shoots great footage, some of the shots here reminded me of GOLDENEYE. He's also in love with Gary Oldman, I've never seen such a star vehicle. I bet he tried to get Oldman in the door for THE LIVING DAYLIGHTS. The racquetball scene is nuts.